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Książki na temat „SEASONAL COMMODITY”

Autor: Grafiati
Data publikacji: 11 września 2023

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Sprawdź 17 najlepszych książek naukowych na temat „SEASONAL COMMODITY”.

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1

Bernstein, Jacob. Jake Bernstein's seasonal futures spreads: High-probability seasonal spreads for futures traders. New York: Wiley, 1990.

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2

Bernstein, Jacob. Jake Bernstein's seasonal trader's bible: The best of the best in seasonal trades. Wyd. 2. Van Nuys, Calif: MBH Commodity Advisors, Inc., 1997.

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3

Seasonal concepts in futures trading: Turning seasonality into profits. New York: Wiley, 1986.

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4

Seasonal charts for futures traders: A sourcebook. New York: Wiley, 1987.

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5

E, Sarhan M., i Sudan. Wizārat al-Zirāʻah wa-al-Mawārid al-Ṭabīʻīyah. Marketing Section., red. Seasonal movements in Sudan's agricultural commodity prices and the use of seasonal price indices in forecasting and in making sell/hold decisions. Khartoum: Marketing Section, Dept. of Agricultural Economics, Planning and Agricultural Economic Administration, Ministry of Agriculture and Natural Resources, 1988.

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6

Trade, Chicago Board of, red. Weather and the wheat market. Chicago, IL: Chicago Board of Trade, 1997.

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7

Trade, Chicago Board of, red. Weather and the soybean market. [Chicago]: Chicago Board of Trade, 1987.

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8

Trade, Chicago Board of, red. Weather and the corn market. [Chicago]: Chicago Board of Trade, 1987.

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9

Trade, Chicago Board of, red. Weather and the corn market. Chicago, IL: Chicago Board of Trade, 1997.

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10

Trade, Chicago Board of, red. Weather and the wheat market. [Chicago, IL]: Chicago Board of Trade, 1987.

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11

Daniel Buchanan & Son., red. [Circular]: During the past fortnight no permanent and favorable turn has occurred in business nor is this a season when it is reasonable to expect it .. [S.l: s.n., 1985.

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12

Sure Thing Commodity Trading: How Seasonal Factors Influence Commodity Prices. Windsor Books, 1987.

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13

Ross, Joe. Trading Spreads and Seasonals. Ross Trading, Inc., 1995.

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14

Weather and the soybean market. Chicago, IL: Chicago Board of Trade, 1997.

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15

Weisbrod, Alexis A. Defining Dance, Creating Commodity. Redaktor Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.021.

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This chapter examines how the rhetoric utilized inSo You Think You Can Dance(United States) presupposes details of dance training, including the experience of certain types of bodies and the expectations of racial identity in regards to highly skilled bodies. The structure of the show emphasizes the language of the judges and producers over the work of the dancers. This language, which establishes values and comparisons between bodies, is used to train audience members to read dancing bodies. Examining these patterns of rhetoric, this chapter defines the termconceived body, identifying how it is constructed on both contemporary and hip-hop dancers during the course of the television show’s first eight seasons. Finally, the racialized construction of these dancing bodies is addressed in relation to the spectacle and commodification created by and on these bodies.
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16

Pulses commodity team: Progress report for the 2005/06 cropping season. Lilongwe: Malawi Government, Ministry of Agriculture, Dept. of Agricultural Research Services, 2006.

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17

Lin, Erika T. Festivity. Redaktor Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.11.

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This chapter locates festivity within the early modern theatre. Through an analysis of Thomas Dekker’sThe Shoemaker’s Holiday, it considers how holidays functioned not as communal rituals but as commodified entertainments; how one-off experiences tied to the cyclical rhythms of the seasons came to be understood as performances that could be enacted year-round—that is, rendered intelligible as theatre within linear models of historical time; and how playing came to be imagined not only as a mode of sociality but also as a vendible commodity. The chapter shows how the commercialization of theatre altered the economic exchanges at the heart of traditional festivity and argues that the professional stage was engaged in a complex project to situate its own performances in relation to existing festive practices. By focusing on early modern contexts, it highlights the ways in which theatricality serves and produces multiple—and, from a modern perspective, often unexpected—cultural functions and effects.
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